After Effects
開啟應用程式
After Effects User Guide
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Get to know After Effects interface
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Improved UI language support
Projects and compositions
Projects
Composition basics
Precomposing, nesting, and pre-rendering
View detailed performance information with the Composition Profiler
CINEMA 4D Composition Renderer
Importing footage
Preparing and importing still images
Importing from After Effects and Adobe Premiere Pro
Importing and interpreting video and audio
Preparing and importing 3D image files
Importing and interpreting footage items
Working with footage items
Detect edit points using Scene Edit Detection
XMP metadata
Text and Graphics
Text
Formatting characters and the Character panel
Text effects
Creating and editing text layers
Formatting paragraphs and the Paragraph panel
Extruding text and shape layers
Animating text
Examples and resources for text animation
Live Text Templates
Motion Graphics
Work with Motion Graphics templates in After Effects
Use expressions to create drop-down lists in Motion Graphics templates
Work with Essential Properties to create Motion Graphics templates
Replace images and videos in Motion Graphics templates and Essential Properties
Animate faster and easier using the Properties panel
Drawing, Painting, and Paths
Overview of shape layers, paths, and vector graphics
Paint tools: Brush, Clone Stamp, and Eraser
Taper shape strokes
Shape attributes, paint operations, and path operations for shape layers
Use Offset Paths shape effect to alter shapes
Creating shapes
Create masks
Remove objects from your videos with the Content-Aware Fill panel
Roto Brush and Refine Matte
Create Nulls for Positional Properties and Paths
Layers, Markers, and Camera
Selecting and arranging layers
Blending modes and layer styles
3D layers
Layer properties
Creating layers
Managing layers
Layer markers and composition markers
Cameras, lights, and points of interest
Animation, Keyframes, Motion Tracking, and Keying
Animation
Animation basics
Animating with Puppet tools
Managing and animating shape paths and masks
Animating Sketch and Capture shapes using After Effects
Assorted animation tools
Work with Data-driven animation
Keyframe
Keyframe interpolation
Setting, selecting, and deleting keyframes
Editing, moving, and copying keyframes
Motion tracking
Tracking and stabilizing motion
Face Tracking
Mask Tracking
Mask Reference
Speed
Time-stretching and time-remapping
Timecode and time display units
Keying
Keying
Keying effects
Transparency and Compositing
Compositing and transparency overview and resources
Alpha channels and masks
Track Mattes and Traveling Mattes
Adjusting color
Color basics
Color management
Color Correction effects
OpenColorIO and ACES color management
Enhanced HDR support
HDR import and export
Effects and Animation Presets
Effects and animation presets overview
Effect list
Effect Manager
Simulation effects
Stylize effects
Audio effects
Distort effects
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Generate effects
Time effects
Transition effects
The Rolling Shutter Repair effect
Blur and Sharpen effects
3D Channel effects
Utility effects
Matte effects
Noise and Grain effects
Detail-preserving Upscale effect
Obsolete effects
Cycore plugins
Expressions and Automation
Expressions
Expression basics
Understanding the expression language
Using expression controls
Syntax differences between the JavaScript and Legacy ExtendScript expression engines
Editing expressions
Expression errors
Using the Expressions editor
Use expressions to edit and access text properties
Expression language reference
Expression examples
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Automation
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Immersive video, VR, and 3D
Construct VR environments in After Effects
Apply immersive video effects
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Advanced 3D Renderer
Import and add 3D models to your composition
Import 3D models from Creative Cloud Libraries
Image-Based Lighting
Animated Environment Lights
Enable lights to cast shadows
Extract and animate lights and cameras from 3D models
Tracking 3D camera movement
Cast and accept shadows
Embedded 3D model animations
Shadow Catcher
3D depth data extraction
Modify materials properties of a 3D layer
Work in 3D Design Space
3D Transform Gizmos
Do more with 3D animation
Preview changes to 3D designs real time with the Mercury 3D engine
Add responsive design to your graphics
Views and Previews
Previewing
Video preview with Mercury Transmit
Modifying and using views
Rendering and Exporting
Basics of rendering and exporting
H.264 Encoding in After Effects
Export an After Effects project as an Adobe Premiere Pro project
Converting movies
Multi-frame rendering
Automated rendering and network rendering
Rendering and exporting still images and still-image sequences
Using the GoPro CineForm codec in After Effects
Working with other applications
Dynamic Link and After Effects
Working with After Effects and other applications
Export After Effects project as Premiere Pro project
Sync Settings in After Effects
Creative Cloud Libraries in After Effects
Plug-ins
Cinema 4D and Cineware
Collaboration: Frame.io, and Team Projects
Collaboration in Premiere Pro and After Effects
Frame.io
Install and activate Frame.io
Use Frame.io with Premiere Pro and After Effects
Frequently asked questions
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Get Started with Team Projects
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How After Effects handles low memory issues while previewing
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After Effects and macOS Ventura
How After Effects handles low memory issues while previewing
Work with Grain effects
Almost every digital image captured from the
real world contains grain or visual noise caused by the recording,
encoding, scanning, or reproduction processes and by the equipment
used to create the image. Examples include the faint static of analog
video, compression artifacts from digital cameras, halftone patterns from
scanned prints, CCD noise from digital image sensors, and the characteristic speckle
pattern of chemical photography, known as film grain.
Noise
isn’t necessarily bad; it’s often added to images to create a mood
or tie elements together, such as adding film grain to a computer-generated
object to integrate it into a photographed scene. However, noise
can be unwanted for aesthetic reasons. Archival footage or high-speed
photography may appear unpleasantly grainy; digital compression
artifacts or halftone patterns may mar an image; or noise may interfere
with technical processes such as bluescreen compositing.
Technical
reasons also exist for reducing noise. For example, compression algorithms
usually achieve smaller file sizes if the input material is less
noisy, so noise reduction is a valuable preprocessing step for work
such as DVD creation and video streaming.
The Add Grain,
Match Grain, and Remove Grain effects allow you to manipulate grain
that appears more or less evenly over an entire image. Grain effects
can’t correct image problems that affect only a few pixels, such
as dust, salt and pepper noise, or analog video dropouts.
The
Add Grain effect generates new grain from nothing; it doesn’t take
samples from existing grain. Instead, parameters and presets for
different types of film can be used to synthesize different types
of grain.
The Remove Grain and Match Grain effects use a
two-step process to manipulate grain without affecting the edges,
sharpness, or highlights of an image. First, the grain is sampled,
either automatically or manually; second, the grain is analyzed and
portrayed by a mathematical model, which the effect uses to add,
remove, or match the grain.
Three types of grain effects: matching (upper-left), adding
(lower-left), and removing (lower-right)
Three types of grain effects: matching (upper-left), adding
(lower-left), and removing (lower-right)
Apply a grain effect
Each grain effect is applied with default
settings and is displayed in Preview viewing mode, which has a preview
region framed by a white border and centered on the image. The preview
region displays the results of the grain effect on a portion of
your image, for speed and comparison purposes. The grain effects are
almost fully automatic but also offer many controls to achieve precise
results. You can also selectively apply the grain effects to portions
of your image using the extensive Blend With Original features provided
with each effect.
Select the layer, and choose Effect > Noise
& Grain > [effect].
Choose a viewing method from the Viewing Mode control
in the Effect Controls panel:
Preview
Displays the current settings of the applied effect in
a 200x200-pixel area.
Blending Matte
Shows the current color matte or mask, or the combination
of both, which results from the current settings of the Blend With
Original controls group.
Final Output
Renders the full active frame, using the current settings
of the effect.
Adjust the controls for the effect in the Effect Controls
panel.
The preview region in the Composition panel reflects
any changes you make.
Choose Final Output from the Viewing Mode control.
Apply a grain effect to a selected
area
The Blend With Original controls group lets
you precisely apply a grain effect to a particular area of an image
by masking and matting the desired area. You can choose between
two selection techniques or use a combination of both:
Color Matching
Excludes any area of the image that matches a selected color. By
inverting the matte, you can also selectively process such an area.
Masking Layer
Uses any layer in the current composition as a mask to selectively
process or exclude an area of the current layer or track.
When
any grain effect is first applied, the Amount value of the Blend
With Original controls group is set to 0%; this value determines
the percentage of blending between the original image and the processed
version. At 0%, no blending occurs and the selected effect is applied
to the entire image at full strength; at 100%, white areas of the
blending matte are unchanged from the original image.
Any
mask or matte works in a similar way: The white pixels in it exclude
that area of the original image from processing by the grain effect;
the black pixels process normally. At 100% Amount, the white areas
fully blend with the original so that they are completely excluded
from the processing. This behavior remains true when the match is
inverted. Regardless of the Amount value, the black areas of the
matte or mask are always processed. The Amount slider affects only
the areas under the white pixels in the matte or mask. It affects
only how each grain effect treats the white areas of the matte or
mask.
Apply a grain effect to the image.
Do any of the following in the Effect Controls panel:
To create a matte around the area to which
you want to apply or exclude the grain effect, use the Color Matching
controls in the Blend With Original controls group.
To mask the current layer with another layer or
track, use the Masking Layer controls.
Adjust the Blur Matte value to soften the matte and to
produce a softer transition between the affected and unaffected
areas of the image.
If you’re using both a color matte and a layer mask,
choose one of the following from the Combine Match And Mask Using
menu:
Screen
Makes the matte white wherever either the mask or the
color match is white.
Multiply
Makes the matte white where both of the inputs are white.
Reduce the Amount value to let more of the original image
show through the grain.
Choose Final Output from the Viewing Mode control.
Generate a color-matching matte
When a grain effect is first applied, a neutral
gray color is used to generate a default color-matching matte, so
that in most images a visible matte appears. The Color Matching
group of controls uses color matching to precisely define a matte.
The matte isolates portions of the image where the layer that uses
the grain effect is blended with the input.
Apply a grain effect to the image.
To select a color to exclude from or restrict to the
effect, do one of the following adjacent to the Matching Color control
in the Blend With Original and Color Matching controls groups:
Click the color swatch and select a color
in the Color Picker dialog box.
Click the eyedropper and
click a color anywhere on the screen.
Do one of the following:
To prevent the grain effect from affecting
the selected color, make sure that the Invert Match control is deselected.
To restrict the grain effect to the selected color,
leaving the rest of the image unaffected, select Invert Match.
If you want to exclude colors that are similar to the
matching color, increase the Matching Tolerance value, which sets
a threshold for color matching. As the value increases, the matte
includes pixels with colors increasingly different from the matching
color.
Choose an option from the Match Color Using control if
you want to change the default criterion (RGB) used to determine
that a color is similar to the matching color.
Adjust the Matching Softness controls to determine the
width of the transition band between completely matched and completely
unmatched pixels or how smoothly the affected areas blend with the
original image.
Select Invert Match if you want to invert the matte so
that the white areas become black and the black areas become white.
(The matching color is black in the matte and is processed by the
grain effect regardless of the Amount setting. The inversion doesn’t
affect any other settings.)
If you’re using both a color matte and a layer mask,
choose one of the following from the Combine Match And Mask Using
menu:
Screen
Makes the matte white wherever either the mask or the
color match is white.
Multiply
Makes the matte white where both of the inputs are white.
Choose Final Output from the Viewing Mode control.
Generate a layer matte
In some cases, you may want to use a different
layer or track as a mask for the layer that uses a grain effect.
This type of mask allows unlimited control over exactly which parts
of an image are modified and by how much.
Apply a grain effect to the image.
In the Effect Controls panel, choose the layer that you
want to use as a mask from the Mask Layer control in the Blend With
Original and Masking Layer controls groups.
Choose a masking mode from one of the standard track
matte mode options.
If the masking layer is a different size than the current
layer, choose one of the following from the If Mask Size Differs
pop-up menu in the Masking Layer controls:
Center
Centers the masking layer over the current layer.
Stretch To Fit
Resizes the masking layer to match the dimensions of
the current layer.
If you’re using both a color matte and a layer mask,
choose one of the following from the Combine Match And Mask Using
menu:
Screen
Makes the matte white wherever either the mask or the
color match is white.
Multiply
Makes the matte white where both of the inputs are white.
Choose Final Output from the Viewing Mode control.
Change the preview region
You can use the Preview Region controls group
to change the position or the size of the preview region for a grain
effect.
Because adding or removing grain can affect sharpness
of detail, you may want to preview an area of fine detail, such
as a human face or some text. When you remove grain with the Remove
Grain effect, a best practice is to preview an area where the grain
is most clearly visible or most objectionable, such as a large expanse
of solid color.
You’ll achieve the best results by experimenting,
applying small increments to each of several controls in the Effect
Controls panel, and viewing the results in the Composition panel
after every adjustment.
After applying a grain effect, click the Center
button in
the Preview Region group of controls in the Effect Controls panel.
A cross hair is centered in the Composition panel.
In the image, click the desired center of the preview
region.
The preview region redraws, centered in the new position.
To change the dimensions of the preview region, change
the Width and Height values in the Effect Controls panel to the
desired size, in pixels. (Larger preview regions can result in slower
rendering.)
Select Show Box if you want to outline the preview region
in color. If you want to change the outline color, next to Box Color
do one of the following:
Click the color swatch and select a color
in the Color Picker dialog box.
Click the eyedropper button, and click a color anywhere
on the screen.
View the results:
To view the fine detail of the noise structure, zoom into the preview region.
To examine the noise in each channel independently, click the corresponding color channel icon in the Composition panel.
To increase the interaction speed and preview duration, use the Region Of Interest feature in the Composition panel to reduce the area that’s processed. (See Region of interest (ROI).)
To retain an image of the current frame in its current state, click Take Snapshot in the Composition panel. You can then click Show Snapshot to view the most recent snapshot instead of the active composition, and to toggle between the current and previous states of the preview region. This technique is extremely useful for evaluating subtle adjustments. (See Snapshots.)
To compare the preview region with and without the grain effect, click the Effect switch next to the name of the grain effect in the Effect Controls panel to temporarily disable the effect. Click Take Snapshot in the Composition panel, click the Effect switch again to re-enable the effect, and then click and hold down Show Snapshot to display the snapshot of the image without the effect.
Work with noise samples in Grain
effects
Noise sampling is the first and most important
step in removing noise from an image or in matching the noise of
one image in another image. Normally, this process is entirely automatic.
For fine control, you can switch to Manual mode and adjust the samples
using the Sampling controls group in the Effect Controls panel.
A
noise sample should be a solid block of uniform color that clearly
displays the noise pattern present in the image. The objective is
to extract samples of pure noise, without any image features that
the algorithm could misconstrue as grain. For example, extract samples
from a piece of sky, a background wall, or an area of fleshtone.
All samples should be selected from the normal range of the film,
DV, or video stock. Avoid underexposed or overexposed areas lacking
in information, especially areas where pixel values have been clipped
to pure black or white. Within this normal exposure range, it’s
best to select samples with various RGB values and colors—for example,
one sample from a bright area, one from a dark area, and one from
an area with midtones.
The number of samples in automatic
mode is high to ensure that the algorithm has enough good noise
data, even if finding good samples in a particular image is difficult.
In addition, automatic mode may override the number of samples you’ve
set if the effect can’t find enough good samples. You can vary the
size of the samples in either automatic or manual mode; however,
increasing sample size doesn’t guarantee better results, especially
if the resulting samples include more substantial variations in
RGB values. Sample size should be reduced if a particular image
doesn’t contain sufficiently large areas of constant color values. Conversely,
increasing the sample size may give better results if the image contains
large featureless areas.
Manually reposition noise samples
Automatic grain or sample selection generally
gives acceptable results for the Match Grain or Remove Grain effect,
but you can choose to manually position and resize each sample or
change the sample number. For example, you may want to reposition
samples if the automatic sampling selected a uniform area that is
underexposed or overexposed and that lacks information about grain structure.
Noise
samples for the Match Grain and Remove Grain effects are always
extracted from the source layer without regarding any effects or
masks already applied to the layer; this method results in more
accurate sampling. If you want the samples to include the existing
effects, precompose or pre-render the source layer with the effects
and then apply the grain effect to the resulting source layer.
Avoid
sample areas with the following characteristics: sharp edges, color gradients,
highlights, textures such as grass or water ripples, fine detail
such as hair or tree leaves, and overexposed or underexposed areas
lacking in information.
In the Effect Controls panel, choose Noise Samples
from the Viewing Mode menu.
The samples appear as small white squares (24x24 pixels)
overlaid on the source image.
Choose Manual from the Sample Selection pop-up menu in
the Sampling controls group.
To remove the least desirable samples from the image,
try reducing the Number Of Samples value.
To move a noise sample, do one of the following:
Click the point parameter for the noise sample in the Noise Sample Points controls group. A cross hair appears in the composition, centered on that sample. Click the desired location in the Composition panel to place the sample.
Using the Selection tool , drag the sample point in the Composition panel to the desired location.
Enter the desired horizontal and vertical coordinates in the Effect Controls panel.
註解：
The number of sample points that are enabled corresponds to the current value of the Number Of Samples.
Repeat for each sample point you want to move.
Change the sampling source frame
By default, the Remove Grain and Match Grain
effects take noise samples from the first frame of the layer, but
you can choose to sample the noise from a different frame. Changing
the frame may be useful if large lighting or exposure variations
occur between frames within the layer.
Decide which frame you want to sample; make sure
that the project settings Display Style is set to Frames, numbering
from zero. The number of the current frame then appears in blue
in the upper-left corner of the Timeline panel. Enter that frame
number as the Source Frame value in the Sampling controls group.
Choose Noise Samples from the Viewing Mode menu.
The selected frame appears in the Composition panel, and
its automatic samples appear on the image.
Change the noise sample box color
You can set the viewing mode for the Remove
Grain or Match Grain effect to Noise Samples to see the areas sampled
by the effect. Sampled areas are automatically framed with a white
outline. If you prefer, you can change the color of these noise
sample boxes.
Next to the Sample Box Color control in the Sampling
controls group, do one of the following:
Click the color swatch, and select a color
in the Color Picker.
Click the eyedropper, and click a color anywhere
in the application window.
Working with added or matched grain
The Add Grain effect creates new grain or noise in an
image by building the grain from nothing or by basing the properties
of the grain on presets. The Match Grain effect also creates new
grain in an image but by matching the grain in a different image.
Both effects share several controls in the Effect Controls panel
that let you control the color, tonal range, blending mode, and
animation properties of the grain.
Adjusting the tones of added or matched grain
The
precise grain pattern present in any frame of film isn’t uniform
throughout the frame but may depend on the tonal values of the content
at each pixel. For example, in chemical film grain, the sizes of
the silver halide crystals vary with the exposure level.
The
Add Grain and Match Grain effects let you reproduce these subtle
changes in grain patterns across areas of an image by using the
Shadows, Midtones, Highlights, and Midpoint controls in the Application
controls group. These controls let you define how much grain is
added to each tonal area and also to each channel in the image.
For example, you can add more grain to overexposed areas of the
blue channel to give an image of sky a grainier look.
You
can use the Application controls group for the Add Grain or Match
Grain effect to do the following:
To define how much
grain is added to each tonal area in an image, adjust the Shadows,
Midtones, and Highlights values.
To define the midpoint of the tonal range of the image for
grain application purposes, adjust the Midpoint slider. By default,
this slider is centered at 0.5, which represents the middle of the
range of pixel values—127 for 8-bpc images and 16384 for 16-bpc
images.
For even finer control, use the Channel Balance controls
to adjust the grain in the shadow, midtone, and highlight areas
independently for each channel.
Animating added or matched grain
By default,
the grain or noise generated by the Add Grain and Match Grain effects moves
at the same speed as the source material to accurately simulate
realistic noise. Slowing down the noise processes may be useful
for aesthetic effect or to keep the added noise from buzzing and
drawing attention to itself. These effects have an internal randomizer
that changes the positions of the noise pixels between frames. But
you can also change the appearance of the noise between layers on
the same frame while keeping every other parameter constant.
You
can use the Animation controls group for the Add Grain or Match
Grain effect to do the following:
To specify the frame
rate of the added grain, as a multiple of the destination frame
rate, adjust the Animation Speed value in the Animation controls
group in the Effect Controls panel. At higher Animation Speed values,
the lifespan of the grains is lower. At the default value of 1,
the grain moves at the same rate as the frames. At lower values,
the grain changes more slowly, which can be useful for giving the
appearance of film grain. At zero, the grain is stationary over
time.
To use interpolation to create smooth transitions between
the generated noise frames, select Animate Smoothly. This control
matters only if Animation Speed is less than 1.
To change the appearance of the noise between layers on the
same frame, adjust the Random Seed value. Each Random Seed value
represents one of 100 possible variations in the appearance; changing
the value doesn’t make the results more or less random.
Blending and adjusting the color of added or matched
grain
You can adjust the color, saturation, and blending
behavior of the grain generated by the Add Grain or Match Grain
effect.
Several factors can affect the apparent color of
the grain that these effects generate, including the following:
The color value of the underlying pixel in the source image.
The Saturation value of the noise.
The Tint Color and Tint Amount values, if you have modified
these settings from the defaults.
The Blending Mode value in the Application controls group.
The amount of noise applied, if any, to each channel individually
using the Channel Intensities controls group.
Using
the Color controls group in the Effect Controls panel, you can adjust
any of the following:
Monochromatic
Gives the added noise a single tint. By default, the tones
are black and white, but you can change the Tint Color to make it
a gradient of any color. (The Saturation and Channel Intensities
controls aren’t available if Monochromatic is selected.)
Tint Amount
Controls the depth and intensity of the color shift.
Tint Color
Controls the color the added noise shifts toward.
Saturation
Controls the amount and vividness of the color.
The
Blending Mode in the Application controls determines how the color
value of the generated noise combines with the color value of the
underlying source layer at each pixel:
Film
Makes the generated grain appear embedded in the image. This
mode affects darker colors more than lighter ones, just as the grain
in a film negative appears.
Multiply
Multiplies the color values of the noise and the source.
However, the result may be either lighter or darker than the original,
because the noise may have either a positive or negative value.
Add
Combines the color values of the pixel in the source with
the noise. However, the result isn’t always lighter than the original
because the noise created by grain effects can have either a positive
or negative value.
Screen
Multiplies the inverse brightness values of the noise and
the source. The effect is like printing from a multiple exposure
on a negative. The result is always brighter than the original.
Overlay
Combines the behavior of Film and Multiply: Both shadows
and highlights get less grain, while midtones get a full application
of grain.
Add Grain effect
The Add Grain effect generates new noise from nothing
and does not take samples from existing noise. Instead, parameters
and presets for different types of film can be used to synthesize
many different types of noise or grain. You can modify virtually
every characteristic of this noise, control its color, apply it
to the image in several ways, even animate it or apply it selectively
to only a part of your image.
This effect works with 8-bpc and 16-bpc color.
Original (left), and with effect applied (right)
Original (left), and with effect applied (right)
The distribution of the added noise over the color channels does
affect the overall color of the resulting image. With a dark background,
the noise tends to add to the image visually, so a red tint or more
noise in the red channel gives a reddish hue to the image. With
a bright background, the noise tends to subtract from the image
visually, so a red tint or more noise in the red channel gives a
cyan color. The result also depends on the Blending Mode control
in the Application controls group.
註解：
The actual grain of your image may vary from the film presets,
because of factors such as exposure and scanning resolution.
You can use the controls for the Add Grain effect to do the following:
To reproduce the grain of a particular film or photographic
stock, choose the film type from the Preset menu for the Add Grain
effect in the Effect Controls panel.
To adjust the intensity and size of the applied grain and
introduce a blur, adjust the Tweaking controls group for the Add
Grain effect in the Effect Controls panel.
To modify the color of the added noise, adjust the Color
controls.
To define how the color value of the generated noise combines
with the color value of the underlying destination layer at each
pixel, choose a Blending Mode in the Application controls group.
To define how much grain is added to each tonal area in your
image and the midpoint, adjust the Shadows, Midtones, Highlights,
and Midpoint values in the Application controls group.
To animate the added grain, adjust the properties in the
Animation controls group.
To apply the effect to the entire image, choose Final Output
from the Viewing Mode menu.
Tweaking controls for Grain effects
The
Match Grain and Add Grain effects share a group of Tweaking controls.
You can use these controls to modify the intensity and size of the
noise and to introduce a blur, all of which can be done across the
three channels or individually for each channel. You can also change
the aspect ratio of the applied grain.
註解：
The values of the
Tweaking controls are relative to the noise sampled in the source
layer: a value of 1.0 leaves that property of the source noise unchanged,
while higher and lower values alter the applied noise.
Adjust
any of the following controls in the Tweaking controls group:
Intensity
Controls the amount of variation in brightness and color
strength between pixels in the generated noise, which determines
the visibility of the noise. Increasing the value does not change
the position or size of each grain but makes the grain appear to
pop more; lower values give a more subtle muted appearance.
Channel Intensities
Controls the contrast between pixels in the generated noise
separately for each channel. For example, you may want to add more
grain to the blue channel to emulate film.
Size
Adjusts the size of the generated grain in pixels.
Channel Size
Adjusts the size of the generated grain in pixels independently
for each channel.
Softness
Sets the amount of softness in the grain.
Aspect Ratio
Controls the ratio of the width of the generated grain over
a constant height of 1; this setting is useful for emulating the
effect of anamorphic lenses or for aesthetic effects. A value higher
than 1 stretches the grain horizontally; values smaller than 1 squash
it horizontally.
Dust & Scratches effect
The Dust & Scratches effect reduces noise and defects
by changing dissimilar pixels within a specified radius to be more
like their neighboring pixels. To achieve a balance between sharpness
of the image and hiding defects, try various combinations of Radius
and Threshold settings.
This effect works with 8-bpc and 16-bpc color.
Original image with scratches (upper-left), enlarged view
of scratches (lower-left), and scratches removed with loss of clarity
(lower-right)
Original image with scratches (upper-left), enlarged view
of scratches (lower-left), and scratches removed with loss of clarity
(lower-right)
Radius
How far the effect searches for differences among pixels.
High values make the image blurry. Use the smallest value that eliminates
the defects.
Threshold
How different pixels can be from their neighbors without
being changed by the effect. Use the highest value that eliminates
the defects.
Fractal Noise effect
The Fractal Noise effect uses Perlin noise to create grayscale noise that you can use for organic-looking backgrounds, displacement maps, and textures, or to simulate things like clouds, fire, lava, steam, flowing water, or vapor.
This effect works with 8-bpc, 16-bpc, and 32-bpc color.
The Evolution controls create subtle changes in the shape of the fractal noise. Animating these controls results in smooth changes of the noise over time, creating results that resemble, for example, passing clouds or flowing water.
Stu Maschwitz provides an example project on his ProLost blog that uses the Fractal Noise effect to create the corona of the Sun.
The Turbulent Noise effect is essentially a modern, higher-performance implementation of the Fractal Noise effect. The Turbulent Noise effect takes less time to render, and it’s easier to use for creating smooth animations. The Turbulent Noise effect also more accurately models turbulent systems, with smaller noise features moving more quickly than larger noise features. The primary reason to use the Fractal Noise effect instead of the Turbulent Noise effect is for the creation of looping animations, since the Turbulent Noise effect doesn’t have Cycle controls.
註解：
Because the controls for the two effects are nearly identical,
you can use most instructions and tutorials created for the Fractal
Noise effect to instead guide your use of the Turbulent Noise effect.
(See Turbulent
Noise effect.)
Controls
Fractal Type
The fractal noise is created by generating a grid of random numbers
for each noise layer. The Complexity setting specifies the number
of noise layers. The Fractal Type setting determines the characteristics
of this grid.
Noise Type
The type of interpolation to use between the random values
in the noise grid.
Invert
Inverts the noise. Black areas become white, and white areas
become black.
Contrast
The default value is 100. Higher values create larger, more
sharply defined areas of black and white in the noise, generally
revealing less subtle detail. Lower values result in more areas
of gray, softening or muting the noise.
Overflow
Remaps color values that fall outside the range of 0–1.0,
using one of the following options:
Clip
Remaps values so that any value above 1.0 is displayed as
pure white, and any value below 0 is displayed as pure black. The
Contrast value influences how much of the image falls outside this
range. Higher values result in a mostly black and/or white image
with less gray area. Therefore, higher contrast settings display
less subtle detail. When used as a luma matte, the layer has sharper, better-defined
areas of transparency.
Soft Clamp
Remaps values on an infinite curve so that all values stay
in the range. This option reduces contrast and makes noise appear
gray with few areas of pure black or pure white. When used as a
luma matte, the layer contains subtle areas of transparency.
Wrap Back
Remaps triangularly, so that values above 1.0 or below 0
fall back into the range. This option reveals subtle detail when
Contrast is set above 100. When used as a luma matte, the layer
reveals more detailed textured areas of transparency.
Allow HDR Results
No remapping is performed. Values outside the range of 0-1.0
are preserved.
Transform
Settings to rotate, scale, and position the noise layers.
The layers appear as if they are at different depths if you select
Perspective Offset.
Complexity
The number of noise layers that are combined (according to the Sub Settings) to create the fractal noise. Increasing this number increases the apparent depth and amount of detail in the noise.
註解：
Increasing Complexity results in longer rendering times. If appropriate, try reducing the Size rather than increasing Complexity to achieve similar results and avoid longer rendering. A trick to increase apparent complexity without increasing rendering time is to use a negative or very high Contrast or Brightness setting and choose Wrap Back for Overflow.
Sub Settings
The fractal noise is generated by combining layers of noise.
The Sub Settings control how this combination occurs and how the
properties of the noise layers are offset from one another. Scaling
successive layers down creates finer details.
Sub Influence
How much influence each successive layer has on the combined noise.
At 100%, all iterations have the same amount of influence. At 50%,
each iteration has half as much influence as the previous iteration.
A value of 0% makes the effect appear exactly as if Complexity is
1.
Sub Scaling, Rotation, and Offset
The scale percentage, angle, and position of a noise layer
relative to the previous noise layer.
Center Subscale
Calculates each noise layer from the same point as the previous
layer. This setting can result in the appearance of duplicated noise
layers stacked on top of each other.
Evolution
Uses progressive revolutions that continue to change the
image with each added revolution. This method is unlike typical
revolutions that refer to a setting on the dial control for which
the result is the same for every multiple of 360°. For Evolution,
the appearance at 0° is different from the appearance at 1 revolution,
which is different from the appearance at 2 revolutions, and so
on. To return the Evolution setting to its original state (for example,
to create a seamless loop), use the Cycle Evolution option.
You
can specify how much the noise evolves over a period of time by
animating Evolution. The more revolutions within a given amount
of time, the more rapidly the noise changes. Large changes in the
Evolution value over a short period of time may result in flashing.
To
create a seamless loop, use Cycle Evolution, and set Evolution keyframes
at full revolutions with no degrees—partially completed revolutions
may interrupt the loop.
Evolution Options
Options for Evolution.
註解：
You
can easily create new fractal noise animations by reusing previously
created Evolution cycles and changing only the Random Seed value.
Using a new Random Seed value alters the noise pattern without disturbing
the Evolution animation.
註解：
Instead of animating Evolution over the entire composition, save rendering time by prerendering and looping one short Evolution cycle for the duration you want.
Cycle Evolution
Creates a cycle of Evolution that loops over the set amount
of time. This option forces the Evolution state to return to its
starting point, creating a smooth progressive cycle, a nonrepeating
cycle, or a loop segment.
To ensure that a cycle completes
full revolutions, choose a Cycle value that either matches or is
evenly divisible by the number of revolutions set for Evolution.
Cycle (in Revolutions)
Specifies the number of revolutions that the noise cycles through before it repeats. The amount of time between Evolution keyframes determines the speed of these Evolution cycles. This option affects only the evolution of the noise, not Transform or other controls. For example, if you view two identical states of noise with different Size or Offset settings, they don’t appear the same.
註解：
Cycle is available only if Cycle Evolution is selected.
Random Seed
Sets a random value from which to generate the noise. Animating
the Random Seed property results in flashing from one set of noise
to another (within that fractal type), which is usually not the
result that you want. For smooth animation of noise, animate the
Evolution property.
Opacity
Opacity of the noise.
Blending Mode
The blending operation between the fractal noise and the original
image. These blending modes are identical to the ones in the Modes column
in the Timeline panel, with the following exceptions:
None
Renders the fractal noise only and does not composite on
the original layer.
Hue
Renders the fractal noise as hue values instead of grayscale.
The Saturation and Lightness of the original layer are maintained.
If the original layer is grayscale, nothing happens.
Saturation
Renders the fractal noise as saturation values instead of
grayscale. The Hue and Lightness of the original layer are maintained.
If the original layer is grayscale, nothing happens.
Create a seamless loop using Fractal
Noise
Select a layer in the Timeline panel,
and choose Effect > Noise & Grain > Fractal Noise.
Set two keyframes for Evolution.
Adjust the time between keyframes and the number of Evolution
revolutions until you are satisfied with the animation of the noise.
Select Cycle Evolution.
Set a value for Cycle.
The evolution completes the number of revolutions you specify
for Cycle in the amount of time determined by the distance between
Evolution keyframes. Determine the Cycle value by considering how
much of this cycle you need to render before it repeats. Choose
the shortest length appropriate for your project to save rendering
time.
Initially, the last frame of a cycle is identical to
the first frame. To create a seamless loop, skip the last frame
by setting the Out point of the layer one frame before the last
frame of the cycle:
Move the current-time indicator to the time where the
cycle completes. For example, if the Cycle is set to 2, locate the
frame when the Evolution value is 2.
註解：
If you set keyframes for other Fractal Noise controls,
return them to their initial settings where the cycle begins to
repeat in the timeline, or the controls don’t loop.
Move the current-time indicator back one frame.
Trim the Out point of the layer to this frame.
Pre-render this layer, and import the pre-rendered movie
into your project.
Select the imported footage item in the Project panel,
and choose File > Interpret Footage. Then set Loop to the number
of loops required for the duration of the layer in the project.
Match Grain effect
The Match Grain effect matches the noise between two
images. This effect is especially useful for compositing and in
bluescreen/greenscreen work. The Match Grain effect only adds noise
and can’t remove it, so if the destination is already noisier than
the source, an exact match is not possible. In this case, you can
first use the Remove Grain effect to clean up the destination and
then apply the Match Grain effect to the result to get a perfect
match.
The Match Grain effect uses noise sampling as its starting point.
Basically, entire frames of new noise are synthesized to match the
noise samples. You can modify the noise in many ways before the
effect is applied to the new image, such as duplicating the noise
from an image but making the noise larger and redder before applying
the noise to another image.
The Match Grain effect shares some controls with the Add Grain
effect. (See Add Grain
effect.)
註解：
The Match Grain effect samples the noise on the frame in the
source layer that corresponds to the first frame in the destination
layer. If the source layer is not present at that frame, or if the
noise samples contain transparent areas, no noise is sampled or
applied.
This effect works with 8-bpc and 16-bpc color.
Original images (left), and with effect applied (right)
Original images (left), and with effect applied (right)
Match noise or grain between images
Make sure that the source and the destination
layers are in the same composition.
Select the destination layer to which you want to add
grain.
Choose Effect > Noise & Grain > Match Grain.
Choose a layer from the Noise Source Layer control in
the Effect Controls panel to specify the source layer from which
you want to sample the grain. (The Noise Source Layer control lists
only layers that are in the Timeline panel.)
The grain is automatically sampled and applied to the preview
region on the destination layer. If you need an automatic match,
you can skip the remaining steps.
If there already is significant noise in the destination
layer before choosing a noise source layer and this causes a grain
mismatch, adjust the Compensate For Existing Noise slider to avoid
grain build-up.
Do any of the following:
To adjust the intensity and size of the
applied grain and to introduce a blur, adjust the Tweaking controls.
To modify the color of the added noise, adjust the
Color controls.
To determine how the color value of the generated
noise combines with the color value of the underlying destination
layer at each pixel, choose a Blending Mode in the Application controls
group.
To define how much grain is added to each tonal
area in your image and the midpoint, adjust the Shadows, Midtones,
Highlights, and Midpoint values in the Application controls group.
If you want to change the effect view, choose any of
the following from the Viewing Mode menu in the Effect Controls
panel:
Noise Samples
Shows the areas that have been sampled to extract the
current noise model. Selecting the source layer causes it to appear
in the Composition panel, with its noise sample squares displayed.
Compensation Samples
Shows the noise samples that have been automatically
extracted from the destination image.
Preview
Displays the current settings of the applied effect in
a 200x200 pixel area.
Blending Matte
Shows the current color matte or mask, or the combination
of both, which results from the current settings of the Blend With
Original controls group.
Final Output
Renders the full active frame, using the current settings
of the effect.
Animate the added grain, if desired.
Choose Final Output from the Viewing Mode control.
Compensate for existing noise when
matching noise
If you’re trying to match the grain between
images with the Match Grain effect, and your destination layer already
has its own visible grain, a grain mismatch or grain build-up may
occur. To prevent these problems, the Compensate For Existing Noise
control extracts a noise model from both the source and the destination
and then modifies the noise from the source to account for the noise already
present in the destination, before applying it to the destination.
To
use this control automatically, set the Compensate For Existing
Noise slider to 100%. You can then view the noise samples in the
destination layer by choosing Compensation Samples in the Viewing
Mode menu. You can also reposition the samples in the destination
image by setting Sampling Mode to Manual, which makes the Compensation
Sample Points available for manual repositioning.
Apply the Match Grain effect to the destination
layer.
In the Effect Controls panel, adjust the Compensate For
Existing Noise value under the Match Grain effect as needed. The
noise in the source layer and the noise in the destination layer
are sampled, and their difference is calculated, so that only enough
noise to match the destination layer to the source layer is applied
to the destination.
To modify the noise samples, choose Noise Samples from
the Viewing Mode menu, change the Sampling > Sample Selection
control to Manual, and then expand the Compensation Sample Points.
The current value of Number Of Samples determines how many points
are available.
To reposition each sample point, do any of the following:
Drag each sample point in the Composition
panel to a new location.
Enter new x and y coordinates adjacent to the sample
point under the Compensation Sample Points controls in the Effect
Controls panel.
Click the point parameter for
the Compensation Sample Point in the Effect Controls panel, and
then click where you want to move the point in the Composition panel.
Choose Final Output from the Viewing Mode control.
Median effect
The Median effect replaces each pixel with a pixel that
has the median color value of neighboring pixels with the specified
Radius. At low Radius values, this effect is useful for reducing
some types of noise. At higher Radius values, this effect gives
an image a painterly appearance.
This effect works with 8-bpc and 16-bpc color.
Original (left), and with effect applied (right)
Original (left), and with effect applied (right)
Noise effect
The Noise effect randomly changes pixel values throughout
the image.
This effect works with 8-bpc, 16-bpc, and 32-bpc color.
Original (left), and with effect applied (right)
Original (left), and with effect applied (right)
Amount Of Noise
The amount of noise to add.
Noise Type
Use Color Noise adds random values to the red, green, and
blue channels individually. Otherwise, the same random value is
added to all channels for each pixel.
Clipping
Clips color channel values. Deselecting this option causes
more apparent noise. This control does not work in a 32-bpc project.
Noise Alpha effect
The Noise Alpha effect adds noise to the alpha channel.
This effect works with 8-bpc color.
Noise
The type of noise. Unique Random creates equal amounts of
black and white noise. Squared Random creates high-contrast noise.
Uniform Animation creates animated noise, and Squared Animation
creates animated high-contrast noise.
Amount
The magnitude of the noise.
Original Alpha
How to apply the noise to the alpha channel:
Add
Produces equal amounts of noise in the transparent and opaque
areas of the clip.
Clamp
Produces noise in the opaque areas only.
Scale
Increases the amount of noise proportionate to the level
of opacity and produces no noise in 100% transparent areas.
Edges
Produces noise only in partially transparent areas, such
as the edge of the alpha channel.
Overflow
How the effect remaps values that fall outside the grayscale
range of 0-255:
Clip
Values above 255 are mapped to 255. Values below 0 are mapped
to 0.
Wrap Back
Values above 255 or below 0 are reflected back into the 0-255 range.
For example, a value of 258 (255+3) is reflected to 252 (255-3),
and a value of ‑3 is reflected to 3.
Wrap
Values above 255 and below 0 are wrapped back around into
the 0-255 range. For example, a value of 258 wraps around to 2,
a value of 256 wraps around to 0, and a value of ‑3 wraps around
to 253.
Random Seed
An input value to the random number generator for the noise. This control is active only if you choose Uniform Random or Squared Random.
註解：
To produce flashing noise, animate the Random Seed control. To create smoothly animated noise, animate the Noise Phase value.
Noise Phase
Specifies the placement of noise. This control is active
only if you choose Uniform Animation or Squared Animation.
Noise Options (Animation)
How noise is animated.
Alter the timing of the Noise Phase keyframes to adjust the speed of the Noise Phase cycles.
註解：
To save time animating the Noise Phase value, use the Cycle Noise option to create a seamless noise loop. Then, render the layer, and re-import it as a new source footage item.
Cycle Noise
Produces a cycle of noise that plays through once in the
specified amount of time.
Cycle
Specifies the numbers of revolutions of the Noise Phase that
the noise cycles through before it repeats (available only when
Cycle Noise is selected).
Noise HLS effect and Noise HLS
Auto effect
The Noise HLS and Noise HLS Auto effects add noise to
the hue, lightness, and saturation components of an image. The noise
generated by the Noise HLS Auto effect is automatically animated
noise; you choose the speed of the animation. To animate the Noise
HLS effect, use keyframes or expressions. Controls for these effects
are the same except for the Noise Phase or Noise Animation Speed control,
which controls noise animation.
These effects work with 8-bpc color.
Original (left), and with effect applied (right)
Original (left), and with effect applied (right)
Noise
The type of noise. Uniform produces uniform noise. Squared
creates high-contrast noise. Grain produces grainlike noise similar
to film grain.
Hue
The amount of noise added to hue values.
Lightness
The amount of noise added to lightness values.
Saturation
The amount of noise added to saturation values.
Grain Size
This control is active only for the Grain type of noise.
Noise Phase (Noise HLS only)
An input value to the random number generator for the noise.
When you set keyframes for Noise Phase, the effect cycles through the
phases to create animated noise. Greater value differences between keyframes
increase the speed of the noise animation.
Noise Animation Speed (Noise HLS Auto only)
The speed of the noise animation. To accelerate or decelerate
the noise animation, animate this property.
Remove Grain effect
To remove grain or visual noise, use the Remove Grain
effect. This effect uses sophisticated signal processing and statistical
estimation techniques in an attempt to restore the image to how
it would look without the grain or noise. While many techniques,
such as applying a mild Gaussian Blur effect or the Median effect,
reduce the visibility of noise in an image, the tradeoff is an unavoidable
loss of sharpness and highlights. The Remove Grain effect, in contrast,
differentiates fine image detail from grain and noise and preserves
the image detail as much as possible.
The Remove Grain effect provides several options to precisely
balance the reduction in noise and the amount of sharpness retained
in the image. Additionally, the Remove Grain effect can analyze
the differences between frames to further improve noise reduction
and sharpness; since this process operates over time, it is called temporal
filtering.
註解：
Good degraining depends on good noise sampling. The results
of the automatic sampling depend on the image content and noise
type. You can also change the number, size, and position of the
samples to get the best results for a particular image.
The Temporal Filtering controls of the Remove Grain effect use a statistical algorithm to blend the current frame with previous and next frames. These controls are especially effective in removing compression artifacts from DV or video footage.
To properly evaluate the results of this filter, the result must be viewed in real time, either with a review or by viewing a movie rendered to a file.
註解：
To increase the speed of the Remove Grain effect
preview, adjust the Remove Grain controls in order in the Effect
Controls panel. Specifically, the most efficient workflow is to
find effective degraining settings first and to adjust the last
three controls last.
This effect works with 8-bpc and 16-bpc color.
Original (left), and with effect applied (right)
Original (left), and with effect applied (right)
Remove noise or grain from an image
Select the layer, and choose Effect
> Noise & Grain > Remove Grain.
Adjust any of the following using the Noise Reduction
Settings controls group:
To adjust the overall amount of noise in the image, adjust the Noise Reduction value.
To adjust the amount of noise on each channel individually, adjust the Red, Green, and Blue Noise Reduction values in the Channel Noise Reduction controls.
註解：
You can easily create new fractal noise animations by reusing previously created Evolution cycles and changing only the Random Seed value. Using a new Random Seed value alters the noise pattern without disturbing the Evolution animation.
Adjust the Passes value to control the maximum noise
radius that can be detected:
If your grain is large and chunky, try increasing the Passes value. A higher number of passes reduces larger-sized noise.
If your render time is longer than desired because your file size is large, try lowering the number of passes to reduce the memory usage and render time.
註解：
Once the optimum number of passes is applied, additional passes have no effect.
Choose one of the following from the Mode pop-up menu:
Multichannel
Degrains all channels of a color image together, which
generally produces the best results on color images. This mode takes
advantage of correlations between channels to improve the accuracy
of the denoising process.
Single Channel
Degrains each channel independently. Use this mode for
a monochromatic image or if Multichannel causes objectionable color
artifacts.
Adjust any of the following in the Fine Tuning controls
group to improve the balance between noise reduction and retained
sharpness:
Chroma Suppression
Suppresses some of the chroma from the noise to clean up
the image. If the noise is colorful, increasing this control can
help remove it. Setting the amount too high may strip some chroma
from the image itself. (Chroma Suppression has no effect on grayscale
images and isn’t available if the Noise Reduction Settings Mode
is Single Channel.)
Texture
Controls the amount of low-level noise that passes through
to the output. This setting is especially useful to reduce objectionable
artifacts or to retain finely textured areas such as wood grain
or brick. Lower values result in a smoother, possibly artificial-looking
result. Higher values may leave the output unchanged from the input.
Noise Size Bias
Controls how the noise reduction process responds to
variations in noise size within the same image. The default value
of zero treats all sizes equally. Negative values leave larger residual
noise and more aggressively remove smaller-sized grain. Positive
values leave smaller noise and more aggressively remove noise of
larger size.
Clean Solid Areas
Controls the extent to which adjacent pixels with low
variations in value are smoothed out by the noise reduction process.
This setting is helpful for large areas of solid color that need
to be as clean as possible. Settings that are too high can smooth
out nearly solid areas of the image, resulting in an artificial
appearance.
Adjust the Unsharp Mask controls to return subtle edge
detail that the degraining removed.
Use the Temporal Filtering controls to perform interframe
noise reduction.
To change the effect view, choose any of the following
from the Viewing Mode pop-up menu:
Noise Samples
Shows the areas that have been sampled to extract the
current noise model.
Preview
Displays the current settings of the applied effect in
a 200x200 pixel area.
Blending Matte
Shows the current color matte or mask, or the combination
of both, which results from the current settings of the Blend With
Original controls group.
Choose Final Output from the Viewing Mode control.
Add temporal filtering to a layer
Apply the Remove Grain effect to your
image.
Place the Remove Grain preview region over the area of
the image that has the most subtle changes from frame to frame or
that has the most moving image detail.
Select Enable in the Temporal Filtering controls.
Adjust the Amount value to 100%.
Render the composition and export it.
If you see unwanted streaking or blurs around moving
objects, reduce the Motion Sensitivity value, and then preview or
render it again.
Try the following techniques if you want to improve the
results:
To quickly reduce noise in a movie that
has a lot of buzzing noise, set the Noise Reduction value to zero
and the Temporal Filtering Amount to 100%, and render the movie.
To speed up previews, apply temporal filtering to
your layer after all the settings for a single frame have been adjusted.
To retain effects on a layer and also apply temporal
filtering to it, precompose the selected layer (choose Layer >
Precompose), and then apply the Remove Grain effect to that layer.
Sharpen an image with Unsharp Mask
controls
The Remove Grain effect contains Unsharp Mask
controls, which increase the contrast of edges and fine details
to help restore some of the sharpness that may have been lost during
the grain reduction process.
Do any of the following:
Increase the Unsharp Mask controls Amount
value to obtain acceptable sharpening without generating undesirable
artifacts or bringing back too much grain.
Increase the Threshold value to remove any unwanted
artifacts that resulted from the sharpening.
Adjust the Radius to change the area over which
Unsharp Mask finds details.
Adjust the Noise Reduction value until the image
begins to lose sharpness; then decrease the value a little, and
then apply the Unsharp Mask controls to sharpen the image.
Turbulent Noise effect
The Turbulent Noise effect uses Perlin noise to create
grayscale noise that you can use for organic-looking backgrounds,
displacement maps, and textures, or to simulate things like clouds,
fire, lava, steam, flowing water, or vapor.
The Turbulent Noise effect is essentially a modern, higher-performance
implementation of the Fractal Noise effect. The Turbulent Noise
effect takes less time to render, and it’s easier to use for creating
smooth animations. The Turbulent Noise effect also more accurately
models turbulent systems, with smaller noise features moving more
quickly than larger noise features. The primary reason to use the
Fractal Noise effect instead of the Turbulent Noise effect is for
the creation of looping animations, since the Turbulent Noise effect
doesn’t have Cycle controls.
註解：
Because the controls for the two effects are nearly identical,
you can use most instructions and tutorials created for the Fractal
Noise effect to instead guide your use of the Turbulent Noise effect.
(See Fractal
Noise effect.)
The Evolution controls create subtle changes in the shape of
the noise. Animating these controls results in smooth changes of
the noise over time, creating results that resemble, for example,
passing clouds or flowing water.
This effect works with 8-bpc, 16-bpc, and 32-bpc color.
Controls
Fractal Type
The fractal noise is created by generating a grid of random numbers
for each noise layer. The Complexity setting specifies the number
of noise layers. The Fractal Type setting determines the characteristics
of this grid.
Noise Type
The type of interpolation to use between the random values
in the noise grid.
Invert
Inverts the noise. Black areas become white, and white areas
become black.
Contrast
The default value is 100. Higher values create larger, more
sharply defined areas of black and white in the noise, generally
revealing less subtle detail. Lower values result in more areas
of gray, softening or muting the noise.
Overflow
Remaps color values that fall outside the range of 0–1.0,
using one of the following options:
Clip
Remaps values so that any value above 1.0 is displayed as
pure white, and any value below 0 is displayed as pure black. The
Contrast value influences how much of the image falls outside this
range. Higher values result in a mostly black and/or white image
with less gray area. Therefore, higher contrast settings display
less subtle detail. When used as a luma matte, the layer has sharper, better-defined
areas of transparency.
Soft Clamp
Remaps values on an infinite curve so that all values stay
in the range. This option reduces contrast and makes noise appear
gray with few areas of pure black or pure white. When used as a
luma matte, the layer contains subtle areas of transparency.
Wrap Back
Remaps triangularly, so that values above 1.0 or below 0
fall back into the range. This option reveals subtle detail when
Contrast is set above 100. When used as a luma matte, the layer
reveals more detailed textured areas of transparency.
Allow HDR Results
No remapping is performed. Values outside the range of 0-1.0
are preserved.
Transform
Settings to rotate, scale, and position the noise layers.
The layers appear as if they are at different depths if you select
Perspective Offset.
Complexity
The number of noise layers that are combined (according to the Sub Settings) to create the noise. Increasing this number increases the apparent depth and amount of detail in the noise.
註解：
Increasing Complexity results in longer rendering times. If appropriate, try reducing the Size rather than increasing Complexity to achieve similar results and avoid longer rendering. A trick to increase apparent complexity without increasing rendering time is to use a negative or very high Contrast or Brightness setting and choose Wrap Back for Overflow.
Sub Settings
The noise is generated by combining layers of noise. The
Sub Settings control how this combination occurs and how the properties
of the noise layers are offset from one another. Scaling successive
layers down creates finer details.
Sub Influence
How much influence each successive layer has on the combined noise.
At 100%, all iterations have the same amount of influence. At 50%,
each iteration has half as much influence as the previous iteration.
A value of 0% makes the effect appear exactly as if Complexity is
1.
Sub Scaling
The scale percentage of a noise layer relative to the previous
noise layer.
Evolution
Uses progressive revolutions that continue to change the
image with each added revolution. This method is unlike typical
revolutions that refer to a setting on the dial control for which
the result is the same for every multiple of 360°. For Evolution,
the appearance at 0° is different from the appearance at 1 revolution,
which is different from the appearance at 2 revolutions, and so
on.
You can specify how much the noise evolves over a period
of time by animating Evolution. The more revolutions within a given
amount of time, the more rapidly the noise changes. Large changes
in the Evolution value over a short period of time may result in
flashing.
Evolution Options
Turbulence Factor
The amount by which the speed of smaller noise features differs
from the speed of larger noise features. A value of 0 makes the
movement of the noise resemble the noise generated by the Fractal
Noise effect, in which smaller noise features move at the same speed
as larger noise features. A larger value makes the multiple layers
of noise appear to roil in a manner more like that of natural turbulence
in a fluid.
Random Seed
Sets a random value from which to generate the noise. Animating
the Random Seed property results in flashing from one set of noise
to another (within that fractal type), which is usually not the
result that you want. For smooth animation of noise, animate the
Evolution property.
註解：
You can easily create new noise animations by reusing previously created Evolution cycles and changing only the Random Seed value. Using a new Random Seed value alters the noise pattern without disturbing the Evolution animation.
Opacity
The opacity of the noise.
Blending Mode
The blending operation between the noise and the original image.
These blending modes are identical to the ones in the Modes column
in the Timeline panel, with the following exceptions:
For
a description of each blending mode, see Blending
mode reference.
None
Renders the fractal noise only and does not composite on
the original layer.
Hue
Renders the fractal noise as hue values instead of grayscale.
The Saturation and Lightness of the original layer are maintained.
If the original layer is grayscale, nothing happens.
Saturation
Renders the fractal noise as saturation values instead of
grayscale. The Hue and Lightness of the original layer are maintained.
If the original layer is grayscale, nothing happens.